Treatment modalities and self-expectancy of therapists: Modes,self-efficacy and imagination of clients in dance movement therapy

Body movement is the primary medium in which dance/movement therapists help clients to connect with implicit experience, to tolerate and express emotion, and thereby to continuously re-work, re-weave and integrate embodied experiences of self. This article explores the role of non-verbal vocalisation within the overall movement ecology of the body, and suggests ways that it can support the aforementioned processes in clinical practice. Three existing frameworks for understanding the non-verbal voice are reviewed, from within and outside the realm of psychotherapy, as are several comprehensive theoretical studies of the ‘self’ in dance/movement therapy. The author emphasises that voice is an integral part of the body's cross-modal capacity for expressive movement, and suggests that the non-verbal voice prioritises and gives form to the emotional content of other bodily movement. This article aims to provide a theoretical starting place for integrating the non-verbal voice into dance/movement therapy scholarship and practice.     

Orientating myself: A gay dance movement psychotherapist’s gender experience in training and practice

ABSTRACT

This paper offers a subjective account of the struggles and pleasures of being a gay dance movement psychotherapy (DMP) lecturer and therapist. The author shares stories of how this individual reality is informed by his life experience as a gay child and man. This gay intersubjective perspective of embodied therapeutic relationships posits a queer theory outlook that deviates from other DMP and embodied perspectives. The intention is to invite more critical reflection on diverse sexual and gender experience and relationships in the training and therapy space, in the hope of opening the door to more transparency with sexual orientation and gender diversity in the body, movement and dance in psychotherapy professions.     

Dance movement therapy and developmental trauma: dissociation and enactment in a clinical case study

This article highlights how body language and non-verbal communication are key elements for the treatment of patients who have suffered from developmental traumas. Contributions from authors from a range of disciplines help the writer to compare the relationship infant-caregiver with the relationship patient-therapist, focusing on common rhythms, attunement, breathing and regulation of affects. The writer investigates how a prolonged lack of attunement from the primary caregiver can have traumatic effects for the child. A clinical case study demonstrates that, through the awarness of his/her own body as 'the instrument', the dance movement therapist can stimulate unconscious implicit body communication and create a sort of vessel where enactments that arise from the therapeutic process can find expression in creative and unexpected ways, as in dreams. This process helps the patient to reintegrate the dissociated aspects of his/herself and can generate significant changes for those involved in the therapeutic process.     

The use of metaphors in dance movement therapy

This text focuses on the specific structure of metaphors in terms of movement processes. The processing of symbolic movement material through structures derived from dance as an art form is investigated. Metaphors that support nonverbal attunement between patient and therapist, and how the use of metaphors and creative processes help establish the inter-subjective relation in dance movement therapy are described.     

Embodied attunement: a dance/movement therapy approach to working with couples

ABSTRACT

Attachment theory is well-recognised for understanding and treating adult love relationships. Neuroscientific research highlights the implicit process of attachment and the unconscious, nonverbal, bodily-based, and affect-regulating interactions of the right brain hemispheres in attachment development. Effective couple therapy ought to consider the implicit processes between infants and caregivers as a model to develop secure attachment in romantic partners, which makes dance/movement therapy (D/MT) a valuable treatment modality. Mirroring is a staple D/MT intervention that involves imitation of a client’s movement by the therapist to enhance attunement and empathy. In this paper, the author explores the overlap between attachment theory, neuroscience, dance/movement therapy, and couple therapy. A theoretical model is proposed for the use of mirroring with couples to foster secure attachment by means of attunement on a bodily-based level. Future research is suggested in order to measure the effectiveness of mirroring on couples’ attachment.     

Kinaesthetic narratives: Interpretations for children's dance movement therapy process

The present case study was aimed at producing research-based information on developmental dance movement therapy (DMT) in Finland. The hypothesis was that DMT enables non-verbal and verbal expression in children at risk of social displacement and long-term learning disabilities. A dance movement therapist and a preschool teacher co-led a year long, weekly DMT group for six preschool children of whom five had recently immigrated to Finland. The theory and practical methods were founded in DMT, attachment theory and solution focused therapy. The sessions used creative movement, movement observation, kinesthetic attunement and mirroring. The evaluation of the group process was based on participant observation, body memory and children's drawings. Bodily dialogue and supportive holding became integral parts of each session. The themes observed in children's drawings suggested developmental changes and externalisation of emotional experiences. The conclusion was that DMT supported the development of group dynamics and movement as a form of interaction.     

Body and movement in dynamic psychotherapy: reflections on talking and movement therapies

In recent decades, somatic experiencing has taken a major place in psychoanalytic thinking. Different theories relate to the meaning of the mother’s attunement towards her baby’s body and to the importance of the therapist’s attentiveness to his own somatic sensations, awakened in the encounter with the patient. With the patient in the armchair, psychodynamic therapists think, imagine, feel and wonder about what the patient’s body may wish to express. This article concerns the patient leaving the armchair in order to actively express himself in the space of the room. It includes examples from the work of Winnicott, Balint and Ogden, and describes the use of analytic work in conjunction with the body and movement. It suggests that the patient’s need to ‘dance the soul stories’ during treatment may bring about actual changes in treatment technique, even prior to systematic theoretical conceptualisation that addresses intervention methods incorporating somatic movement.     

Unconscious seduction: Desire and disability in dance/movement therapy

ABSTRACT

Sexuality is typically avoided in therapeutic training and studies of disability; therefore therapy with people living with disabilities is inclined to become problematic when desire emerges. What happens when the therapist unconsciously crosses the imaginary line between being a therapist and being a woman, with all the sensual and sexual implications that might bring? Through four case studies of clients with intellectual disabilities, this therapist investigates sensual touch between clients, clients touching therapists, and therapists touching clients, and contrasts therapeutic touching with sexual misconduct as an ethical concern. The varying evocations of dance, music, touch and flow are problematised in the therapeutic context of dance/movement therapy. Interrogating and theorising an instant of authentic relating in which a boundary seems to be transgressed, this article illustrates the (after)effects of an unconscious slippage of the therapeutic role.     

Opposites attract: holistic emotional regulation using dance/movement therapy and the doshas in Ayurveda

This model presents a collaborative and holistic perspective on dance/movement therapy (D/MT) and Ayurveda. This approach suggests that the dance/movement therapist takes into account all range and manner of an individual’s movement repertoire and uses these observations to construct therapeutic interventions that build upon body types and movement preferences represented in Ayurveda. Both D/MT and Ayurveda share the value of achieving a sense of regulation through the use of opposite qualities of movement, which will be explored in depth through the lenses of Laban Movement Analysis and the Kestenberg Movement Profile. Several examples of interventions the therapist might utilise are provided. Further considerations exploring the growth of this model in the future and limitations are also included in this article.     

Music,movement, and emotions: an inquiry with suggestions for the practice of dance/movement therapy

ABSTRACT

Emotions play a significant role in our lives. While the literature has shed some light on how emotions are evoked, not all aspects are well understood. Music and dance or movement have been shown to stimulate an aesthetic or emotional response and seem to affect each other. However, these cross-modal influences have only been studied in individuals who are passively engaged . Missing are accounts of how music affects dancers and moving affects making music, a gap which is especially salient considering the frequent application of music during dance/movement therapy sessions. In this paper, I present a vignette from a creative arts studio class and subsequently describe the use of a heuristic arts-informed methodology as a means of gaining greater understanding about the connection between music and movement and their influences on emotions. I connect extant literature to my own findings and derive suggestions for the field of dance/movement therapy.     

Embodiment of a fictional character during Dance movement therapy with an adolescent ADD patient: Case study

In dance movement therapy, we may work with metaphors that originate from the movement itself, or with symbolic images and situations. What happens, though, if a patient is to choose to embody a random fictional character from their favourite book or film? This case study illustrates the potential of embodiment work with an image of a fictional character, even if this character is not one of the recurrent motifs in literature or mythology and does not bear generally recognised symbolism. The author uses the Emotorics movement analysis system to assess the patient’s body and motion profile transformation. The change of the patient’s movement and behaviour in the course of a year’s long therapy suggests a possibility of therapeutically effective application of the embodiment technique, provided that the choice of the character is based on the patient’s actual challenges and subjective experience.     

The cultural responsibility of dance movement therapy: philosophical considerations

This paper examines the cultural situation and special responsibility of dance movement therapy, delineating certain philosophical and cultural-theoretical interpretations of the ‘corporeal turn’ and ‘therapeutic turn’ of contemporary culture. It aims to show how dance movement therapy’s theoretical horizon is inseparable from the body-mind integration of contemporary philosophies, and how corporeal turn is present in consumer culture, including some of its destructive forms of idealisation and malign regression. The question of how DMT is able to turn malignant regression to the body into benign regression is addressed, and an analysis of the correlating postmodern idea of resilience is offered. Finally, DMT groups are interpreted as social microcosms, and the way Hungarian psychodynamic movement and dance therapists apply their group therapeutic method for the development of democratic culture in the Civil Group Project is described.     

Traversing distance and proximity: the integration of psychodrama and dance movement therapy techniques in supervision

This article explores the potential for intermodal methods in person-centred supervision, focusing on the application of techniques from dance movement therapy (DMT) and psychodrama. The article proposes how specific structures combining psychodrama and DMT allow the supervisee to negotiate between proximity and distance, offering ways to hone in, step out or create alternative perspectives. Somatic congruence is introduced as a person-centred principle that enables the supervisor to understand and/or share somatic reactions in response to the supervisee’s material or the supervisor’s own personal process. Embodying roles and projective techniques are illustrated in the article through examples from the author’s supervisory DMT practice, demonstrating how these interventions may help symbolically crystallise supervisory issues. Caveats to these interventions and cautions to practitioners are presented, contributing to critical analyses of cross-disciplinary work. The article presents a constructive view towards future research and professional development on intermodal, creative supervisory practice.     

Belly dance and its links to body psychotherapy

This paper describes the therapeutic use of belly dance therapy (BDT) for women, context and process, on its own and in relation to body psychotherapy and the Chakra system. It gives a brief history of belly dance, references the author’s personal journey and describes a case study. It illustrates how BDT can empower women to serve themselves in their pleasure and pain by awakening the dissociated, traumatised parts of the body and non-verbal body memories through sensing and feeling the body and verbally articulating this.     

Dance movement psychotherapy for couples (DMP-C): systematic treatment guidelines based on a wide-ranging study

ABSTRACT

A new body of knowledge, growing out of the clinical and research fields, has been developing in recent years in the area of dance-movement psychotherapy for couples (DMP-C). Formulation of an intervention protocol based on a systematic review of theories and research is crucial to scientifically establishing the field and to implementing research findings in clinical practice. The present article reviews the results of a comprehensive qualitative research study in DMP-C, which addresses the following topics: couple intake, expectations of couples seeking therapy, a projective identification mechanism in the couple relationship, desires and expectations in the sexual relationship, synchrony in the non-verbal relationship, somatic mirroring, and kinaesthetic empathy in the couple relationship. Based on the findings of the research, a systematic intervention protocol for couples psychotherapy through movement and dance has been developed; its unique contribution will be examined alongside other interventions in couples therapy.     

Getting synchronised in the mirror game: an exploratory study

ABSTRACT

This exploratory study aimed to disassemble interpersonal movement synchrony by looking at the different elements that comprise this kind of interaction. For this purpose, we used the mirror-game (MG)- an imitation movement technique commonly used in drama and dance/movement therapy. Forty-eight participants (mean age = 33.2) played the MG with same gender-matched expert players. All MGs were recorded and later observed. We used in-depth observation of the MG and created the MG-Synchrony-Scales (MGSS), which identify eight parameters: Reference to the other, Adopting the suggestions, Complexity of the participant’s movement, Sync time, Entering synchrony, Complexity of synchronised dyadic movement, Exiting synchrony, and Non-jittery motion. We explored statistically the links between these different elements of movement synchrony. Using the MGSS showed that the qualities one needs to synchronise with the other are a combination of paying attention to the other and readiness to freely explore a variety of movements and roles.     

Learning to yield: body psychotherapy and complex posttraumatic stress disorder

ABSTRACT

Historically, the symptoms of complex posttraumatic stress disorder (C-PTSD) have been difficult to treat. Due to the complex and varied manifestation of C-PTSD, treatment of symptoms is not easily resolved with current pharmacologic and therapeutic modalities and approaches alone. Untreated childhood trauma inhibits the ability to regulate arousal to stimulus that may be perceived as threatening; creating chronic nervous system activation even when actual threats are not present. The experiences of our lives shape our bodies and our patterns of movement. Working with the body’s developmental movement patterns as a somatic resource can provide an entry point into the client’s psyche in a way that cognition alone cannot provide. Using techniques, like breathwork, to learn how to notice body sensations improves self-regulation, developing body-based resources the client can use to yield; improving regulation of the nervous system and promoting the reduction of C-PTSD symptoms.     

Mismatches as milestones in dance movement therapy

This paper explores the concept of mismatches between verbal and non-verbal content and its relation to dance movement therapy (DMT). Relying on interdisciplinary works in linguistics, developmental psychology and DMT, it is shown that although it might be common belief that DMT deals mainly with matching the patient's movements, in reality, mismatches are very common. Moreover, the article shows how mismatches, applied in a broad sense that includes clashing and opposing in various manners, may become a practical tool in clinical practice. To conclude, examples of how mismatches may be implemented in clinical work are given.     

Time in Motion: Qualities of Temporality Within Psychotherapeutic Psychodynamic Counselling

Our relationship to time is both a developmental and a relational one; an inter- and intra-psychic experience. Exploring how the theories of Freud, Klein, Winnicott, and their successors offer explanations of how the psychoanalytic subject develops and sustains a concept of time and the factors that may hinder this, this essay suggests that different qualities of time, such as continuity, rhythm, repetition and interruption, can reveal themselves through the client's transferential and countertransferential relationship with the therapist. Using fictionalized clinical examples it explores how a bodily felt experience of time was thought about by the therapist/author using Laban movement analysis to support a client in ‘working through’ early material that felt stuck. The exploration of a client's perspective is brought in through the writings of the activist Passerini on her psychoanalytic treatment (cited by Baraitser in Enduring Time) and her experience of trauma's capacity to stop time. The essay also looks at how psychoanalytic ideas of temporality challenge the ‘recruiting’ of time by the wider culture to create more time-efficient late-capitalist subjects but by using ideas from movement studies and a Lacanian influenced time register it is suggested that cultural attacks on subjective experiences of temporality could be challenged within therapy. It is hoped the essay encourages the therapist to become alert to the manifestations of different temporal experiences within the therapeutic relationship and to develop a creative, embodied language with which to explore it with the client.     

A psychoanalytic perspective of endings in therapy: A dance movement psychotherapy case study

This paper is an account of time-limited dance movement psychotherapy in an inner-city London school during my final year of training for an MA in Dance Movement Psychotherapy. I describe the treatment of a traumatised 9-year-old boy using psychoanalytic theories, in particular Winnicott's ideas. This patient suffered at an early age from the drastic separation of his father and, when he was 6 years of age, various dramatic events led to the hospitalisation of his mother due to psychiatric problems. The impending ending of the therapy and the trainee's repetition of a ‘neglectful transference’ triggered powerful memories of traumatic past separations, which aroused deep-seated anxieties in the patient and trainee alike. The work towards a ‘good enough’ ending in the new therapeutic relationship was of great value to the patient's recovery. Parallels are drawn with the trainee's feelings of ending her dance movement psychotherapy course.